A Quote by Terry Zwigoff
And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
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My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.
The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
I grew up not reading fiction; I watched movies and read comic books, and one of the ways I taught myself to think about narrative was through film.
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
With 'Lonely Thug,' I constructed a fantasy character who was very masculine and strong and almost threatening, but his demeanor belied some complication.
When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.
Morvern Callar's' a really weird film, in a sense, where I was trying to experiment with taking things in a different direction, and it kind of half works and it half doesn't. And I kind of felt with that film that perhaps I should have pushed it more into the realms of black comedy slightly.
I've always felt that no one understands why some books of non-fiction endure and some don't, because there's not much understanding among many non-fiction writers that the narrative is terribly important.
Life holds many, many, many mysteries, abstract things we all think about. In a film when things get abstract, some people don't appreciate that and they want to leave the theater. Others love to dream, get lost, try to figure things out. I'm one of those people. I like a film, a story that holds concrete things but also abstractions. So when ideas come along that have those things, I'm falling in love and going to work.
My staged work looks so real that people actually take it for documentary. But, in fact, that is my intention, to disguise the manufacturedness of it. Half of my work, or probably more than that, is staged.
... when I saw any of those kinds of beauty I knew I was alive, and not just in the sense that when I hit my thumb with a hammer I knew I was alive, but rather in the sense that I was partaking of something--something was passing through me that it was in my nature to be a part of.
The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.
On the plane, I like to read fiction set in the location I'm going to. Fiction is in many ways more useful than a guidebook, because it gives you those little details, a sense of the way a place smells, an emotional sense of the place. So, I'll bring Graham Greene's The Quiet American if I'm going to Vietnam. It's good to feel romantic about a destination before you arrive.
In so many ways, a lot of the drive I've had to do certain things has been because of this sense that I have both the opportunity and in some sense the obligation to ratify that my parents' life had purpose.
There's this belief that some things can be taken seriously in an intellectual way, while some things are only entertainment or only a commodity. Or there's some kind of critical consensus that some things are "good," and some things are garbage, throwaway culture. And I think the difference between them, in a lot of ways, is actually much less than people think. Especially when you get down to how they affect the audience.
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